Mondo Generator Premiere “When Death Comes”; As Good as it Gets (Fuck It) out Feb. 14

Posted in audiObelisk on October 17th, 2019 by JJ Koczan

mondo generator

Nothing says ‘love’ like a little Mondo Generator on Valentine’s Day. The Nick Oliveri-fronted bringers of desert chaos — with Mike Amster (Nebula, Abrams) on drums and Mike Pygmie (You Know Who, John Garcia and the Band of Gold) on guitar — will release their new album, As Good as it Gets (Fuck It), through Heavy Psych Sounds on Feb. 14, just as they’re digging into the midst of a massive European tour. The announcement of the concurrent release date wasn’t unexpected, but is certainly welcome just the same, as is the opening of preorders which by astounding coincidence also starts today for the record. Sometimes these things just work out.

As one would dare to hope, OliveriPygmie and Amster conjure due madness with “When Death Comes,” the first audio to make its way to the public from As Good as it Gets (Fuck It), and in well under three minutes’ time, theymondo generator as good as it gets fuck it reconfirm the sense of punk rock danger that’s been at heart in Mondo Generator since their debut, Cocaine Rodeo, in 2000, and in Oliveri‘s work even before that in Queens of the Stone Age and Kyuss. As that first full-length turns 20, it’s only fair that Mondo Generator should remain so unpredictable, and while “When Death Comes” might find Oliveri tempering his trademark vicious scream to a degree, there’s simply no telling at this point what the rest of As Good as it Gets (Fuck It) might hold in nodule-inducing abrasion.

Or, you know, not. Again, you can never really be sure what’s coming.

Obviously I haven’t heard the entirety of As Good as it Gets (Fuck It) yet, or I suppose I would, but it’s early days yet with preorders just launched and the artwork newly posted and all that kind of stuff. Plenty of time for these things as we get closer to next Feb. 14, but of course if you’re the type who likes to get your roses in advance, this would be an entirely different kind of gift to consider.

Enjoy “When Death Comes” below:

When Death Comes is the first single taken from the brand new Mondo Generator album As Good As It Gets (Fuck It).

The band is coming back after 8 years with a new line up: Nick Oliveri (ex Kyuss, Queens of the Stone Age), Mike Pygmie and Mike Amster. The album will see the light February 14th via Heavy Psych Sounds.

The pre-order for this album (as well as a “lost” record from 2010 as well as the new Nick Oliveri N.O Hits At All Vol. 666) start today:
www.heavypsychsounds.com

The band will be also touring Europe during February and March 2020, including HPS Fests in Paris, Antwerp, London and Deventer.

*** MONDO GENERATOR EUROPEAN TOUR 2020 ***
05.02.2020 IT Roma-Traffic
06.02.2020 IT Pescara-Scumm
07.02.2020 IT North East Tba
08.02.2020 CH Winterthur-Gaswerk
13.02.2020 IT Ravenna-Bronson
14.02.2020 IT Cagliari-La Cueva Rock
15.02.2020 IT Parma-Splinter
16.02.2020 IT Cecina-Spazio Live Ritmi
17.02.2020 IT Torino-Blah Blah
18.02.2020 IT Erba-Centrale Rock
19.02.2020 FR Chambery-Le Brin Du Zinc
20.02.2020 CH Olten-Coq D’Or
21.02.2020 DE Siegen-Vortex
22.02.2020 DE Oldenburg-MTS Record Shop
23.02.2020 DE Hamburg-tba
24.02.2020 DE Berlin-Zukunft**
25.02.2020 DE Dresden-Chemiefabrik**
26.02.2020 AT Salzburg-Rockhouse
27.02.2020 AT Innsbruck-PMK
28.02.2020 IT Bozen-Pippo Stage
29.02.2020 DE Wiesbaden-Kreativefabrik
01.03.2020 DE Karlsrhue-Jubez
02.03.2020 DE Augsburg
03.03.2020 LU Luxembourg-tba
04.03.2020 FR Nantes-Le Ferraieur
05.03.2020 FR Paris-Glazart “Heavy Psych Sounds Fest”
06.03.2020 BE Antwerp-Trix “Heavy Psych Sounds Fest”
07.03.2020 UK London-Underworld “Heavy Psych Sounds Fest”
08.03.2020 NL Deventer-Burgerweeshuis “Heavy Psych Sounds Fest”
09.03.2020 UK Nottingham-Albert’s*
10.03.2020 UK Bristol-Exchange *
11.03.2020 UK Manchester-Star&Garter*
12.03.2020 UK Glasgow-Nice n’ Sleazy*
13.03.2020 BE Diksmuide-Music Club 4AD
14.03.2020 NL Rotterdam-Baroeg
w/t ALUNAH*
w/t DUEL**

All tickets available soon via www.heavypsychsounds.com

MONDO GENERATOR ARE:
NICK OLIVERI – bass + vocals
MIKE PYGMIE – guitars
MICHAEL AMSTER – drums

Mondo Generator on Thee Facebooks

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

Tags: , , , , ,

Quarterly Review: Total Fucking Destruction, Hippie Death Cult, The Cosmic Dead, Greenthumb, Elepharmers, Nothing is Real, Warish, Mourn the Light & Oxblood Forge, Those Furious Flames, Mantra Machine

Posted in Reviews on October 3rd, 2019 by JJ Koczan

quarterly review

I’d like to find the jerk who decided that the week I fly to Norway was a good time for the Quarterly Review. That, obviously, was a tactical error on my part. Nonetheless, we press on with day four, which I post from Oslo on CET. Whatever time zone you may find yourself in this Thursday, I hope you have managed to find something so far in this onslaught of whatnot to sink your chompers into. That’s ultimately, why we’re here. Also because there are so many folders with albums in them on my desktop that I can’t stand it anymore. Happens about every three months.

But anyhoozle, we press on with Day Four of the Fall 2019 Quarterly Review, dutiful and diligent and a couple other words that start with ‘d.’ Mixed bag stylistically this time — trying to throw myself off a bit — so should be fun. Let’s dive in.

Quarterly Review #31-40:

Total Fucking Destruction, #USA4TFD

Total Fucking Destruction USA4TFD

Who the hell am I to be writing about a band like Total Fucking Destruction? I don’t know. Who the hell am I to be writing about anything. Fuck you. As the Rich Hoak (Brutal Truth)-led Philly natives grind their way through 23 tracks in a 27-minute barrage of deceptively thoughtful sonic extremity, they efficiently chronicle the confusion, tumult and disaffection of our age both in their maddening energy and in the poetry — yeah, I said it — of their lyrics. To it, from “Is Your Love a Rainbow”: “Are you growing? Is everything okay? Are you growing in the garden of I don’t know?” Lines like this are hardly decipherable without a lyric sheet, of course, but still, they’re there for those ready to look beyond the surface assault of the material, though, frankly, that assault alone would be enough to carry the band — Hoak on drums/vocals, Dan O’Hare on guitar/vocals and Ryan Moll on bass/vocals — along their willfully destructive course. For their fourth LP in 20 years — most of that time given to splits and shorter releases, as one might expect — Total Fucking Destruction make their case for an end of the world that, frankly, can’t get here fast enough.

Total Fucking Destruction on Thee Facebooks

Give Praise Records website

 

Hippie Death Cult, 111

Hippie-Death-Cult-111

Issued first by the band digitally and on CD and then by Cursed Tongue Records on vinyl, 111 is the impressively toned debut full-length from Portland, Oregon’s Hippie Death Cult, who cull together heavy rock and post-grunge riffing with flourish of organ and a densely-weighted groove that serves as an overarching and uniting factor throughout. With the bluesy, classic feeling vocals of Ben Jackson cutting through the wall of fuzz from Eddie Brnabic‘s guitar and Laura Phillips‘ bass set to roll by Ryan Moore‘s drumming, there’s never any doubt as to where Hippie Death Cult are coming from throughout the seven-track/42-minute offering, but longer, side-ending pieces “Unborn” (8:24) and “Black Snake” (9:06) touch respectively on psychedelia and heavy blues in a way that emphasizes the subtle turns that have been happening all along, not just in shifts like the acoustic “Mrtyu,” but in the pastoral bridge and ensuing sweep of “Pigs” as well. “Sanctimonious” and “Breeder’s Curse” provide even ground at the outset, and from there, Hippie Death Cult only grow richer in sound along their way.

Hippie Death Cult on Thee Facebooks

Cursed Tongue Records BigCartel store

 

The Cosmic Dead, Scottish Space Race

The Cosmic Dead Scottish Space Race

Heavyweight Glaswegian space jammers The Cosmic Dead present four massive slabs of lysergic intensity with their eighth long-player, Scottish Space Race (on Riot Season Records), working quickly to pull the listener into their gravity well and holding them there for the 2LP’s 75-minute duration. As hypnotic as it is challenging, the initial churn that emerges in the aptly-named 20-minute opener “Portal” clenches the stomach brutally, and it’s not until after about 12 minutes that the band finally lets it loose. “Ursa Major,” somewhat thankfully, is more serene, but still carries a sense of movement and build in its second half, while the 12-minute title-track is noisier and has the surprising inclusion of vocals from the generally instrumental outfit. They cap with the 24-minute kosmiche throb of “The Grizzard,” and there are vocals there too, but they’re too obscured to be really discernible in any meaningful way, and of course the end of the record itself is a huge wash of fuckall noise. Eight records deep, The Cosmic Dead know what they’re doing in this regard, and they do it among the best of anyone out there.

The Cosmic Dead on Thee Facebooks

Riot Season Records website

 

Greenthumb, There are More Things

greenthumb there are more things

With just three tracks across a 20-minute span, There are More Things (on Acid Cosmonaut) feels like not much more than a sampler of things to come from Italian post-sludgers Greenthumb, who take their name from a Bongzilla track they also covered on their 2018 debut EP, West. The three-songer feels like a decided step forward from that offering, and though they maintain their screamier side well enough, they might be on the verge of needing a new name, as the rawness conveyed by the current moniker hardly does justice to the echoing atmospherics the band in their current incarnation bring. Launching with the two seven-minute cuts “The Field” and “Ogigia’s Tree,” they unfurl a breadth of roll so as to ensnare the listener, and though “The Black Court” is shorter at 5:37 and a bit more straight-ahead in its structure, it still holds to the ambient sensibility of its surroundings well, the band obviously doing likewise in transposing a natural feel into their sound born of landscape real or imagined.

Greenthumb on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

 

Elepharmers, Lords of Galaxia

Elepharmers Lords Of Galaxia Artwork

Riffy Sardinians Elepharmers set themselves to roll with “Ancient Astronauts” and do not stop from there on Lords of Galaxia, their third LP and debut through Electric Valley Records. There are some details of arrangement between the guitars of El Chino (also bass, vocals and harmonica) and Andrea “Fox” Cadeddu and the drums of Maurizio Mura, but as Marduk heralds his age on second cut “Ziqqurat,” the central uniting factor is g-r-o-o-v-e, and Elepharmers have it down through “The Flood” and into side B’s classic stoner rocking “Foundation” and the driving “The Mule,” which shifts into laser-effects ahead of the fade that brings in closer “Stars Like Dust” for the last 10 minutes of the 47-minute offering. And yes, there’s some psychedelia there, but Elepharmers stay pretty clearheaded on the whole in such a way as to highlight the sci-fi theme that seems to draw the songs together as much as the riffage. More focus on narrative can only help bring that out more, but I’m not sure I’d want that at the expense of the basic songwriting, which isn’t at all broken and thus requires no fixing.

Elepharmers on Thee Facebooks

Electric Valley Records website

 

Nothing is Real, Only the Wicked are Pure

nothing is real only the wicked are pure

How do you recognize true misanthropy when you come across it? It doesn’t wear a special kind of facepaint, though it can. It doesn’t announce itself as such. It is a frame. Something genuinely antisocial and perhaps even hateful is a worldview. It’s not raise-a-claw-in-the-woods. It’s he-was-a-quiet-loner. And so, coming across the debut album from Los Angeles experimentalist doom outfit, one gets that lurking, creeping feeling of danger even though the music itself isn’t overly abrasive. But across the 2CD debut album, a sprawl of darkened, viciously un-produced fare that seems to be built around programmed drums at the behest of Craig Osbourne — who may or may not be the only person in the band and isn’t willing to say otherwise — plays out over the course of more than two hours like a manifesto found after the fact. Imagine chapters called “Hope is Weakness,” “Fingered by the Hand of God,” and “Uplift the Worthy (Destroy the Weak).” The last of those appears on both discs — as do several of the songs in different incarnations — as the track marries acoustic and eventual harder-edged guitar around murderous themes, sounding something like Godflesh might have if they’d pursued a darker path. Scary.

Nothing is Real on Thee Facebooks

Nothing is Real on Bandcamp

 

Warish, Down in Flames

warish down in flames

The fact that Warish are blasting hard punk through heavy blowout tones isn’t what everyone wants to talk about when it comes to the band. They want to talk about the fact that it’s Riley Hawk — of royal stock, as regards pro skateboarding — fronting the band. Well, that’s probably good for a built-in social media following — name recognition never hurts, and I don’t see a need to pretend otherwise — but it doesn’t do shit for the album itself. What matters about the album is that bit about the blasting blowout. With Down in Flames (on RidingEasy), the Oceanside three-piece follow-up their earlier-2019 debut EP with 11 tracks that touch on horror punk with “Bones” and imagine grunge-unhinged with “Fight” and “You’ll Abide,” but are essentially a display of tonal fuckall presented not to add to a brand, but to add the soundtrack to somebody’s blackout. It’s a good time and the drunkest, gnarliest, most-possibly-shirtless dude in the room is having it. Also he probably smells. And he just hugged you. Down in Flames gets high with that dude. That matters more than who anyone’s dad is.

Warish on Thee Facebooks

RidingEasy Records website

 

Mourn the Light & Oxblood Forge, Split

It’s a double-dose of New England doom as Connecticut’s Mourn the Light and Boston’s Oxblood Forge pair up for a split release. The former bring more material than the latter, particularly when one counts the digital-only bonus cover of Candlemass‘ “Bewitched,” but with both groups, it’s a case of what-you-see-is-what-you-get. Both groups share a clear affinity for classic metal — and yes, that absolutely extends to the piano-led drama of Mourn the Light‘s mournful “Carry the Flame” — but Oxblood Forge‘s take thereupon is rougher edged, harder in its tone and meaner in the output. Their “Screams From Silence” feels like something from a dubbed-and-mailed tape circa ’92. Mourn the Light’s “Drags Me Down” is cleaner-sounding, but no less weighted. I don’t think either band is out to change the world, or even to change doom, but they’re doing what they’re doing well and without even an ounce of pretense — well, maybe a little bit in that piano track; but it’s very metal pretense — and clearly from the heart. That might be the most classic-metal aspect of all.


Mourn the Light on Thee Facebooks

Oxblood Forge on Thee Facebooks

 

Those Furious Flames, HeartH

those furious flames hearth

Swiss heavy rockers Those Furious Flames push the boundaries of psychedelia, but ultimately remain coherent in their approach. Likewise, they very, very obviously are into some classic heavy rock and roll, but their take on it is nothing if not modern. And more, they thrive in these contradictions and don’t at all sound like their songs are in conflict with themselves. I guess that’s the kind of thing one can pull off after 15 years together on a fifth full-length, which HeartH (on Vincebus Eruptum) is for them. Perhaps it’s the fact that they let the energy of pieces like “VooDoo” and the boogie-laced “HPPD” carry them rather than try to carry it, but either way, it’s clearly about the songs first, and it works. With added flash of organ amid the full-sounding riffs, Those Furious Flames round out with the spacey “Visions” and earn every bit of the drift therein with a still-resonant vocal harmony. You might not get it all the first time, but listening twice won’t be at all painful.

Those Furious Flames on Thee Facebooks

Vincebus Eruptum Recordings BigCartel store

 

Mantra Machine, Heliosphere

mantra machine heliosphere

This is what it’s all about. Four longer-form instrumentalist heavy psych jams that are warm in tone and want nothing so much as to go out wandering and see what they can find. Through “Hydrogen,” “Atmos,” “Delta-V” and “Heliosphere,” Amsterdam-based three-piece Mantra Machine want nothing for gig-style vitality, but their purpose isn’t so much to electrify as to find that perfect moment of chill and let it go, see where it ends up, and they get there to be sure. Warm guitar and bass tones call to mind something that might’ve come out of the Netherlands at the start of this decade, when bands like Sungrazer and The Machine were unfolding such fluidity as seemed to herald a new generation of heavy psychedelia across Europe. That generation took a different shape — several different shapes, in the end — but Mantra Machine‘s Heliosphere makes it easy to remember what was so exciting about that in the first place. Total immersion. Total sense of welcoming. Totally human presence without speaking a word. So much vibe. So much right on.

Mantra Machine on Thee Facebooks

Mantra Machine on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Russian Circles, War Cloud, Here Lies Man, Book of Wyrms, Möyhy-Veikot, Darsombra, Set Fire, Jesus the Snake, Föllakzoid, Dresden Wolves

Posted in Reviews on October 2nd, 2019 by JJ Koczan

quarterly review

Had to take a second this morning to get my email back under 100 unread. It currently stands at 95. There’s just something about being in triple digits that I can’t stand. Press releases and stuff I can usually file right away since not everything’s relevant to the site, etc., but that’s all stuff that either wants follow-up or could be a factor here if there was time. I do my best to try to keep up. And I fail, consistently.

The tradeoff, of course, is I spend that time writing reviews and other stuff for the site. Today’s hump day when we pass the halfway mark of the Fall 2019 Quarterly Review, and we’re doing it in absolutely all-over-the-place style, so all the better. Some pretty familiar names today, but some that might not be as well, so whatever your poison, I hope you enjoy the picking.

Quarterly Review #21-30:

Russian Circles, Blood Year

russian circles blood year

There’s simply no denying the force behind the depths and swell of a song like “Kohokia” on Russian Circles‘ latest offering, Blood Year (Sargent House), and though one knows what to expect to some degree from the Chicago heavy post-rockers at this point in their career, they seem to be doing all they can to deliver their instrumental progressions with energy to match the breadth of the spaces and the heft they conjure. Like 2016’s Guidance (review here), the seven-track/39-minute Blood Year — was recorded with Kurt Ballou, whom the trio imported to their hometown to work at Electrical Audio (aka Steve Albini‘s stomping ground) instead of traveling to Massachusetts to track at Ballou‘s Godcity. If it was the long-famed drum sound of Electrical Audio that they wanted and the live feel that so many of the recordings done there have, they got both, so mark it a success and another notch in the belt of one of the heavy underground’s most immersive and evocative outfits. Their building and releasing of tension is second to none and moves into the spiritual by the time they even get to side B, let alone through it.

Russian Circles on Thee Facebooks

Sargent House website

 

War Cloud, State of Shock

war cloud state of shock

Oh, the riffs you’ll gallop. Oakland, California’s War Cloud skirt the line between classic thrash and heavy rock and roll on their second album for Ripple Music, State of Shock, and from the sound of things, they have a good time doing it. The record’s not much over a half-hour long, which is as it should be for this kind of party, and they toy a bit with the balance between their two sides on a rocker like “Do Anything” or the subsequent “Means of Your Defeat” on side B, but the main crux of State of Shock and certainly the impression it makes off the bat with “Striker” and “White Lightning” up front ahead of the six-minute that-moment-when-ThinLizzy-turned-into-IronMaiden “Dangerous Game” is one of homage to the metal of yore, and in following-up the band’s 2017 self-titled debut (review here), it’s a showcase of energy and craft alike as two guitars shred, chug, groove and charge through the material. If they were from the Eastern Seaboard, I’d say something about getting caught in a mosh. As it stands, I’ll go with urging you to jump in the fire instead. Horns up, either way.

War Cloud on Thee Facebooks

Ripple Music website

 

Here Lies Man, No Ground to Walk Upon

here lies man no ground to walk upon

They should’ve just called it an album. Yeah, it would be short at 26 or so minutes, but it’s got everything you’d want from a full-length, and if they’d put a four-minute jam or something on it, they’d have been there anyhow. In any case, Los Angeles’ Afrobeat-infused heavy psych rockers Here Lies Man present seven tracks of dug-in glory with No Ground to Walk Upon (on RidingEasy), continuing to build on the potential shown across their first two LPs, 2017’s self-titled debut (review here) and last year’s You Will Know Nothing (review here), even as they swagger their way through a groove like “Long Legs (Look Away)” and show their continued forward potential. They continue to be a special band — the kind of band who doesn’t just come along every day and who shouldn’t be overlooked during their time, because maybe they’ll be around 30 years and maybe they won’t, but what they’re doing now is bringing something wholly individual to a heavy context. They’ve already proven influential to some degree, but listening to No Ground to Walk Upon cuts like the dream-keyed “Iron Rattles” and the opening strut-into-drone of “Clad in Silver,” one wonders if they wouldn’t be more so if people weren’t too afraid to try to pull this thing off. Hard to argue with that, since more likely than not most couldn’t.

Here Lies Man on Thee Facebooks

RidingEasy Records website

 

Book of Wyrms, Remythologizer

Book of Wyrms Remythologizer

I won’t take anything away from the eight-minute “Blacklight Warpriest” earlier in the offering, but the highlight of Book of Wyrms‘ second album, Remythologizer (on Twin Earth & Stoner Witch Records) has to be the closing “Dust Toad,” which at 9:25 is the longest track and the slowest crawl included. Led into by the synth-infused “Curse of the Werecop,” it takes the crunch that showed itself through opener “Autumnal Snow” and, later, the melody and swing of “Undead Pegasus” — as seen on the cover art — and brings them together in order to perfectly summarize the doom rocking ethic the Richmond, Virginia, four-piece are working from. Tonally righteous and more solvent in their songwriting than they were on their 2017 debut, Sci-Fi/Fantasy (review here), the band sound assured as they move in “Spirit Drifter” from a standout keyboard line to a likewise standout guitar solo, giving a feeling of progressive nuance that’s continuing to take hold in their sound, balanced by the underlying naturalism of their approach. That dynamic continues to duke it out on Remythologizer, much to the benefit of anyone who takes the record on.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

Stoner Witch Records BigCartel store

 

Möyhy-Veikot, Huume Jet Set Life

moyhy-veikot huume jet set life

Too weird for planet earth and, well, probably too weird for anywhere else too, Helsinki psych-space-kraut-whathaveyou experimentalists issue their third tape in the form of Huume Jet Set Life and whether it’s the cosmo-jamming on “MITÄ ON TULLUT VEDETTYÄ?” or the who-the-hell-knows-what-ism of “MEDIA-AJOJAHTI 2000,” the band at no point fail to make an impression of being out there in the far gone far out there reaches of the far out there. Talkin’ freaked out next level total, like the cassette just fell into the atmosphere to represent some other planet’s culture where things are both dangerous and interesting and you never really know if you’re going to get laid or eaten or both. Still, they may be doing math of the likes not yet conceived by humanity, but Möyhy-Veikot go about it in suitably friendly if totally over-the-top fashion, and it’s fun to play along while also being completely overwhelmed at the various pushes and pulls happening all at once, the media samples and the Windows 95 compatibility of it all. It’s one small step for man, one giant leap for disco.

Möyhy-Veikot on Thee Facebooks

Möyhy-Veikot on Bandcamp

 

Darsombra, Transmission

Darsombra Transmission

It’s just lovely. Really. In some ways it feels like the 41:20 single-track full-length Transmission — self-released, no less — is what Baltimore ambient exploratory two-piece Darsombra have been building toward all along, but I think the truth is they probably could’ve done this at any time if they’d chosen to do so. Still, the fluidity of “Transmission” itself is something special, with its cascades of manipulated voice, riffs that swell and recede, loops, synth and somehow-manifested light that are as much immersion for the spirit as the eardrum. One doesn’t want to dive too deep into hyperbole and oversell it to the point of dulling the listener’s own impression, but Transmission is the kind of record that even those who profess to never “get” drone or noise offerings can engage with. Part of that is owed to Brian Daniloski‘s guitar, which provides landmarks along the path of swirl conjured by his own effects and the synth from Ann Everton (both add vocals where applicable; don’t look for lyrics or verses) that allow those who’d take it on to do so more easily. But the real joy in Transmission is letting go and allowing the piece to carry you along its progressive course, genuine in its reaching for the unknown. Plus there’s a gong, and that’s always fun too. Go with it.

Darsombra on Thee Facebooks

Darsombra on Bandcamp

 

Set Fire, Traya

set fire traya

Traya is the third three-song full-length from Boston’s Set Fire, and it would seem that, and in addition to marking the last recording to feature drummer Rob Davol, who’s since been replaced by Josh Cronin, it would seem to show the three-piece nailing their sound of classic-tinged duet-fronted heavy rock and roll. With two powerhouse vocalists on board in guitarist Jim Healey (We’re all Gonna Die, Black Thai, etc.) and keyboardist Jess Collins (ex-Mellow Bravo), they work in varying arrangements across a meager 12-minute run that feels short mostly because it is short. Too short. “Any Place Left” puts Collins in the foreground, while “Sacred Song” is more Healey‘s, and unsurprisingly to anyone who’s experienced their past work either together or separate, they’re more than able to carry the material — only more so with the other party backing. “Waves” brings them together around theatrical layers of piano and keyboard and guitar, and that they manage to hold it steady at all, let alone take flight as it does, speaks to how ready they are to embark on a longer offering. Put out an album, already, would ya?

Set Fire on Thee Facebooks

Set Fire on Bandcamp

 

Jesus the Snake, Black Acid, Pink Rain

Jesus the Snake Black Acid Pink Rain

For those feeling adventurous, Portugal’s Jesus the Snake follow-up their 2017 self-titled EP (review here) with the unmitigated warmth of Black Acid, Pink Rain, their live-recorded full-length debut. And for the sort of heavy psych-jazz-prog meandering, one would almost expect the organ-laced instrumentalist four-piece to track the record as they perform it, if not front-to-back then certainly one song at a time across multiple takes. Not one piece of the five total on the 49-minute offering is under eight minutes long, and sandwiched between opener “Karma” (10:28) and the closing title-track (10:55) are three cuts circa nine that prove no less hypnotic. The beginning of “Floyds I” is so fluid with the interplay of organ and guitar that one almost expects a gentle Portuguese spoken word verse to start, but of course one never does. Instead, Jesus the Snake complement mindful drift with flashes of more weighted or active fare, all the while holding to a central vibe that is peaceful even as “Duna” finds its chill before the halfway point, with no loss of spirit in the process.

Jesus the Snake on Thee Facebooks

Jesus the Snake on Bandcamp

 

Föllakzoid, I

follakzoid i

As with any kind of sonic minimalism or release based around trance induction — see Darsombra above — there’s a certain amount of buy-in that needs to happen on the listener’s side. Accordingly, those going into the fourth LP from Chilean duo Föllakzoid, titled I and issued through Sacred Bones Records as a double-vinyl, should be aware that it’s requires that kind of interaction from one side to the other. It’s not especially loud or abrasive, or even demanding in terms of the basic sonics of the thing, but as “I” becomes “II” becomes “III” becomes “IIII” and the songs such as they are alternate between 17- and 13-minute runtimes and the blend of effects and electro beats tips to one side or the other — “II” with a fervent ‘ump-tis’ in its early going while “III” brings a more Vangelis-style cinematic wash — of course there’s an ask in terms of indulgence happening on the part of the two-piece to their audience. Whether an individual is willing to make that jump is obviously going to be up to their headspace and where they’re at, but Föllakzoid‘s work here is more than worth the investment, even for those less familiar with their methods.

Föllakzoid on Thee Facebooks

Sacred Bones Records website

 

Dresden Wolves, Hiedra – Sencillo

dresden wolves Hiedra Sencillo

The sub-three-minute “Hiedra – Sencillo” is the latest in an ongoing series of digital offerings from Mexico City’s Dresden Wolves, and though the two-piece band bill themselves as post-punk and they may actually have a history in playing punk rock — stranger things have happened, certainly — the song finds them working in a taut heavy rock context, brash in delivery but not overly so as to lose the overarching swagger they seem intent on conveying. Particularly as it follows behind two EPs and a swath of other single tracks, and is offered name-your-price through their Bandcamp, “Hiedra – Sencillo” feels like its most nefarious aim is to hook anyone who’d click play on first listen and try and keep them intrigued for next time out. Fair enough. I won’t profess to know what Dresden Wolves‘ plans are, but they’ve got songwriting in their pocket and the production on “Hiedra – Sencillo” is crisp and clear enough to convey the heft of the guitar but not so much so as to dull its rawer aspects. They’ve got the balance ready to go, whatever they might choose to do with it from here.

Dresden Wolves on Thee Facebooks

Dresden Wolves on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Ether Feather Premiere “New Abyss” Video; Debut Album out Now

Posted in Bootleg Theater on September 12th, 2019 by JJ Koczan

ether feather new abyss video

Sleeper hit. Ether Feather‘s debut album, Devil – Shadowless – Hand, isn’t the kind of record people hear, but it’s the kind of record they wish they’d heard later, and whatever pomp may or may not surround its arrival, the eight-track/37-minute oh-so-vinyl-ready outing digs into a heavy desert rock weirdness that owes surprisingly little allegiance to that style or any other, instead rolling out with an amorphous, go-where-it-wants sensibility that results in the dream-tone-into-chug of opener and longest track (immediate points) “Falconer,” while ditties like “Interstellar” and the later drift-jam “New Abyss” and the clunk-punk geometry-jazz “Haggard Hawk” do what they wilt to serve the song in question. The tendency throughout seems to be toward experimentalism on the part of drummer/vocalist Dylan Ryan, guitarist Tim Young and bassist Sylvia Black — none of whom arrives without pedigree, as you can read below — but that experimentalism is likewise drawn into the purpose of songwriting, and not simply thrown out to the listener in as-is fashion.

That holds true even on the lead guitar and maybe-synth exploration “Dawn of Orion,” which follows the crunchy post-grunge texture of “Cayenne” with two minutes that would otherwise be an interlude if they didn’t add so much to the proceedings on the whole in terms of vibe ahead of the closing duo “Your Half in the Middle” and “The Ultimate Halcyon,” which both resolve themselves in raucous fashion but aren’t at all limited to rush or pummel in their approach. Particularly in the latter, one is reminded of some of Rob Crow‘s vocal melodicism, but if what that actually means is Ether Feather are bizarre and progressive, then take it as you will. Their first album is less a direct statement of intent than the laying claim to a swath of ground for future expansion — which is to say, I don’t think they’re going to get any less weird over time. But that’s only good news, as what they bring to that in terms of craft is an engaging fleetness of rhythm and a strong presence in terms of tone and personality. Again, sleeper hit. I know there’s a lot of stuff out there, and Devil – Shadowless – Hand might take a couple listens before it sinks in, but meeting it on its own level is worth the effort in the end.

As further persuasion, Ether Feather premiere their cinematic video for “New Abyss” below. I’m pretty sure they’re out there where Kirk fought the Gorn — so yes, Cestus III — and that’s awesome, but beyond that, consider it as evidence of how haphazard Devil – Shadowless – Hand isn’t that they’d put together a clip for a track and use it as the genuine opportunity to tell a story that it is, not simply playing the track in their rehearsal space, but directing a narrative that works to complement the song in mood and style. I’m a firm believer in happy accidents, and I’m sure there are a couple on the Ether Feather record, but there’s no lack of consideration surrounding.

Enjoy the video:

Ether Feather, “New Abyss” official video

What resides in the ether? Floating like a lead balloon in Ether Feather’s inverse universe is the meeting point between Black Sabbath, Mahavishnu Orchestra, Kyuss and Captain Beefheart.

The Los Angeles trio’s sound is a weighty, swinging brand of desert rock influenced heft informed by elements of No Wave, free jazz and post-punk. It’s not jammy for jam’s sake, nor is it neo-jazzbo navel gazing – it’s crafty and astute, head-bobbing thud with a flair for tasteful melodic quirks.

Ether Feather is the brainchild of L.A.-by-way-of-Chicago drummer/vocalist Dylan Ryan, who has also played with Man Man, Cursive, Red Krayola and more. The newly minted trio includes guitarist Tim Young (guitarist on the Late Late Show and studio player: Todd Rundgren, Mike Patton, Fiona Apple) and bassist Sylvia Black (Lydia Lunch.) The band arose from a previous incarnation called SAND, featuring Ryan and Young, which had released two albums in 2013 and 2014 respectively.

Ether Feather is:
Tim Young, Guitar
Sylvia Black, Bass
Dylan Ryan, Drums & Vocals

Ether Feather, Devil – Shadowless – Hand (2019)

Ether Feather on Thee Facebooks

Ether Feather on Instagram

Ether Feather on Bandcamp

Tags: , , , , ,

Draagyn Share Debut Single “Majesty”

Posted in Whathaveyou on September 11th, 2019 by JJ Koczan

A little bit of ripping progressive black metal, you say? Don’t mind if I do. Bolstered by some piano, rife with melody and folkish elements Draagyn‘s debut single “Majesty” is a broad and clear statement of intent on the part of the newcomer outfit. In true — or tr00, if you prefer — black metal style, info on the whos and whats and wheres is sparse in favor of universe-collapsing-on-itself-style descriptors, and fair enough, but the bottom line is that as a first public track, “Majesty” lives up to its title in melodic poise and intensity alike. It’s eight minutes long and I guarantee it sounds not at all like anything else I’m posting today.

And while I’ll admit I’m something of an eyerolling fan of some of black metal’s theatrical presentation, the line in the PR wire info below about releasing additional music “as it sees fit” is pretty fantastic. Here’s hoping the band sees fit soon.

Audio’s at the bottom, but dig that headline too. Right on:

draagyn

DRAAGYN EMERGES FROM THE DEPTHS OF A BLACKENED ABYSS TO LIGHT THE WAY FOR DEVIANT SOULS ON DEBUT SONG, “MAJESTY”

To be clear, this isn’t metal. In fact, it’s the end of times. The chilling moment right before you die. It’s something to be loved, feared and hated at the same time. An intense cataclysm, clawing and writhing its way from the blackened abyss. It’s to be adored or recoiled in disgust with no compromise in between. A grotesque, iconoclastic deity that should be worshipped or burned at the stake. A magnificent terror caught in the crossroads between heaven and hell that lights the way for the damned amidst eternal darkness. It’s artistry for the outliers and outlaws; for those with reckless abandon and exclusive fetishes. This is Draagyn.

With its first offering, “Majesty,” Draagyn parts a dead sea with an 8-minute opus of juxtaposing sound, beginning with an ethereal prelude, before all out collapsing into a torrent of violent darkness and immense doom. Bound by no rules and apathetic to any preconceived notions as to what is considered “music” or “art,” Draagyn manifests a supreme intensity and fearless brilliance which knows no limits.

Draagyn will release additional music in the near future, as it sees fit.

https://www.instagram.com/_draagyn_/
https://soundcloud.com/draagynmusic

Tags: , , , , ,

Sunn O))) Announce Pyroclasts Due Oct. 25

Posted in Whathaveyou on August 30th, 2019 by JJ Koczan

Sunn O)))‘s second LP of 2019 has been announced as Pyroclasts, due out Oct. 25 through Southern Lord. It’ll be the follow-up to Life Metal (review here), and fulfills the promise the band made at the start of the year that they’d produce not one, but a pair of full-lengths. The concept behind this one, based around improv drone exercises done during the Life Metal sessions at Electrical Audio in Chicago, seems pretty fascinating — heady, but one would expect that from Sunn O))) at this point — and the two-minute sample they’ve posted is indeed drone as fuckall. That teaser also gives a good look at the cover art, which is beautiful.

Incidentally, I’d like to start my day with improvisational drone exercises. I’m lucky if I can remember to turn the coffee pot on before I go brush my teeth though, so I’m not counting on it happening anytime soon.

We all have our rituals.

From the PR wire:

sunn o pyroclasts

SUNN O))) Announces The Release Of Pyroclasts, Confirmed For Release Through Southern Lord On October 25th; Trailer Posted

SUNN O))) will release Pyroclasts through Southern Lord on October 25th. The album’s cover art, track listing, and a trailer have been issued.

The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a twelve-minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two-inch tape, it was an exercise and a chance to dig into a deep opening or closing of the day’s session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, Tos Nieuwenhuizen, Hildur Guðnadóttir, and as always, SUNN O)) founders Stephen O’Malley and Greg Anderson.

The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividness of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of SUNN O)))’s titanic works.

For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel and feel the music. To be immersed will reveal great detail and color, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.

SUNN O))) would invite our audience to consider these points of perception when experiencing and listening to Pyroclasts. SUNN O))) would also invite and encourage their audience to use Pyroclasts as a lens to review and re-experience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.

Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two-inch tape July 2018 and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019. Four of Samantha Keely Smith’s incredible consciousness memory landscapes grace the album sleeve artwork.

Stephen O’Malley and Greg Anderson would like to dedicate this album to the memories of Ron Guardipee, Kerstin Daley, and Scott Walker.

Pyroclasts Track Listing:
SIDE A:
Frost (C)
Kingdoms (G)
SIDE B:
Ampliphædies (E)
Ascension (A)

SUNN O))) Tour Dates:
September 2019 – Western U.S.
9/01/2019 Granada – Dallas, TX w/ Papa M, Big|Brave
9/02/2019 Emo’s – Austin, TX w/ Papa M, Big|Brave
9/04/2019 The Gothic – Denver, CO w/ Papa M, Big|Brave
9/06/2019 Metro Music Hall – Salt Lake City, UTw/ Papa M, Big|Brave, Eagle Twin
9/07/2019 Arcosanti – Phoenix AZ w/ Papa M, Big|Brave
9/08/2019 Mayan – Los Angeles, CA w/ Papa M, Big|Brave
9/09/2019 The Fillmore – San Francisco, CA w/ Papa M, Big|Brave
9/11/2019 The Showbox – Seattle, WA w/ Papa M
9/12/2019 Revolution Hall – Portland, OR w/ Papa M
9/15/2019 Hollywood Forever – Los Angeles, CA [Shoshin (??) Duo]

Let There Be Drone (Multiple Gains Stages) October 2019
10/07/2019 Backstage – Munich, DE w/ Caspar Brötzmann Bass Totem
10/08/2019 HfG / ZKM – Karlsruhe, DE w/ Caspar Brötzmann Bass Totem
10/09/2019 Kaserne Basel – Basel, CH w/ Caspar Brötzmann Bass Totem
10/10/2019 Felsenkeller – Leipzig, DE w/ Caspar Brötzmann Bass Totem
10/11/2019 Unsound Festival – Krakow, PL
10/13/2019 Kablys – Vilnius, LT w/ Caspar Brötzmann Bass Totem
10/14/2019 Vene Teater – Tallinn, EE w/ Caspar Brötzmann Bass Totem
10/15/2019 Kulttuuritalo – Helsinki, FI w/ Caspar Brötzmann Bass Totem
10/17/2019 Kraken Sthlm – Stockholm, SE w/ Carl Michael Von Hausswolff
10/18/2018 Kulturkirchen Jakob – Oslo, NO w/ Runhild Gammelsæter & Lass Marhaug Duo
10/19/2019 BLA – Oslo, NO [Shoshin (??) Duo] w/ Runhild Gammelsæter & Lass Marhaug Duo DJ set
10/21/2019 Koncerthuset – Copenhagen, DK w/ Puce Mary
10/22/2019 Doornroosje – Nijmegen, NL
10/24/2019 SWX – Bristol, UK w/ Anna Von Hausswolff
10/25/2019 QMU – Glasgow, UK w/ Anna Von Hausswolff
10/26/2019 The Crossing – Birmingham, UK w/ Anna Von Hausswolff
10/27/2019 Albert Hall – Manchester, UK w/ Anna Von Hausswolff
10/28/2019 Roundhouse – London, UK w/ Anna Von Hausswolff

INCOMING IN 2020…
La Gaîté Lyrique presents:
SUNN O))) – Let There Be Drone / One Residence, Two Concepts, Three Concerts
1/30/2020 / Life Metal
2/01/2019 / Life Metal
2/02/2020 / Shoshin

https://www.instagram.com/sunnofficial
https://www.facebook.com/SUNNthebandOfficial
https://sunn.bandcamp.com
https://sunn-live.bandcamp.com
http://www.southernlord.com
http://southernlord.bandcamp.com
https://www.facebook.com/SLadmin
https://www.instagram.com/southernlordrecords

Sunn O))), Pyroclasts preview

Tags: , , , , ,

Streaming: Saint Vitus Interview with Dave Chandler

Posted in audiObelisk, Features on August 16th, 2019 by JJ Koczan

saint vitus

It was a decade ago now that Saint Vitus began their reunion. At that point, it had been 14 years since the release of their final album, Die Healing (discussed here), in 1995. The not-quite-fully-original-but-definitely-the-most-influential lineup was guitarist Dave Chandler, vocalist Scott “Wino” Weinrich, bassist Mark Adams and drummer Armando Acosta, the last of whom would soon be replaced by Henry Vasquez (Blood of the Sun), who had drummed for Chandler‘s short-lived Debris Inc. outfit earlier in the aughts, and would ultimately pass away in 2010Vitus — who are arguably the most influential American doom band, and certainly the most influential the West Coast ever produced — were knee-deep in triumphant reunion tours by then, between Europe and the US, and they’d continue to roll out a packed schedule after signing to Season of Mist and releasing the long-awaited Lillie: F-65 (review here) in 2012.

From there, things proceeded in a fashion that can only be considered pure Vitus. A couple years of steady touring followed supporting Lillie: F-65 and celebrating their landmark catalog, until Weinrich got arrested in Norway in late-2014 for amphetamines, and the band seemed to come apart. Enter original vocalist Scott Reagers, last heard from with what was then a return performance on Die Healing, to take up the frontman role. More touring commenced and the band went on to issuesaint vitus saint vitus Live Vol. 2 (review here) in 2016. Already the proposition of a new studio album had been raised, but work was inevitably stunted by the departure of bassist Mark Adams — a quiet presence on stage, but a founding member and someone essential to the sound all along — owing to complications from Parkinson’s disease. A replacement was found in Pat Bruders of Down and Outlaw Order, and with a somehow-brand-new-but-still-half-original lineup, Saint Vitus once again took to the road and took on the task of their next record.

Saint Vitus‘ 1984 debut, Saint Vitus, is a genuine landmark in doom. A Calipunk answer to Black Sabbath at their gutsiest and grimiest, it has stood the test of time for over 30 years and only grown more relevant with each passing decade. That Saint Vitus in 2019 — ChandlerReagersVasquez and Bruders — should title their new album Saint Vitus (review here) is no coincidence. How could it be? And from the quintessential doomly roll of “Remains” and “Last Breath” to the pulsating energy of “Bloodshed” and the delightfully hardcore punk closer “Useless,” it is in every way a reclamation of Saint Vitus‘ identity as a group. Call it full-circle or don’t, but it’s a record that both embraces who they’ve always been and gleefully, mischievously screws with genre-based preconceptions, Reager‘s growls and soaring voice essential to the personality of the outing even as Chandler steps in for a spoken word take on the experimentalist noise of “City Park.”

I won’t take away from what Bruders and Vasquez do together as a rhythm section, and why the hell would I, but no question that having Chandler and Reagers paired up again gives the 2019 Saint Vitus a clash-of-the-titans-style feel, and for more than just Chandler‘s seemingly endless collection of pro-wrestling t-shirts. In every way, the tracks on Saint Vitus — which again united the group with producer Tony Reed (Mos Generator, etc.) — earn the banner of the band’s name under which they arrive, and for the fact that Saint Vitus has endured in one form or another for the last 40 years, their spirit of survival continues to be a middle finger raised high in defiance of everything, including, at times, themselves.

There’s a lot of doom out there, but there’s only one Dave Chandler, and I was fortunate enough to talk to him a while back, before the album came out in May. You’ll find the audio of the interview below. Thanks for checking it out if you do.

Enjoy:

Interview with Dave Chandler

 

Saint Vitus, Saint Vitus (2019)

Saint Vitus on Thee Facebooks

Saint Vitus on Twitter

Saint Vitus Tumblr

Saint Vitus website

Season of Mist on Thee Facebooks

Season of Mist on Twitter

Season of Mist on Instagram

Season of Mist website

Tags: , , , , ,

Ether Feather to Release Devil – Shadowless – Hand Sept. 6; New Song Streaming

Posted in Whathaveyou on July 11th, 2019 by JJ Koczan

ether feather

Sometimes a band takes unexpected turns that require a complete re-think of their central project. That seems to have been the case with Ether Feather, who emerge with their debut long-player, Devil – Shadowless – Hand, after growing out of guitarist Tim Young and drummer/vocalist Dylan Ryan‘s previous outfit, Sand. Whatever other changes may have taken place in the sound, Ether Feather is legitimately a better name, and while they’ve got Sylvia Black on bass now, it seems going by their Bandcamp page for the track “Interstellar” streaming below that it might be Devin Hoff who played on the record or at this one song. Either way, the record is out Sept. 6 and I was digging the melody and the stylistic blend on it, so though I haven’t heard the full record as yet, it seemed worth posting. Plus they pretty much nailed the promo shot above, and you gotta respect that. Nicely done, folks.

Art, info, links and audio follow, courtesy of the PR wire:

ether feather devil shadowless hand

Ether Feather share first track from forthcoming full length debut

L.A. trio plays hooky heavy psych w/ proto-punk & prog flair

L.A. trio Ether Feather share the first track from their forthcoming full length debut today.

What resides in the ether? Floating like a lead balloon in Ether Feather’s inverse universe is the meeting point between Black Sabbath, Mahavishnu Orchestra, Kyuss and Captain Beefheart.

The Los Angeles trio’s sound is a weighty, swinging brand of desert rock influenced heft informed by elements of No Wave, free jazz and post-punk. It’s not jammy for jam’s sake, nor is it neo-jazzbo navel gazing – it’s crafty and astute, head-bobbing thud with a flair for tasteful melodic quirks.

Ether Feather is the brainchild of L.A.-by-way-of-Chicago drummer/vocalist Dylan Ryan, who has also played with Man Man, Cursive, Red Krayola and more. The newly minted trio includes guitarist Tim Young (guitarist on the Late Late Show and studio player: Todd Rundgren, Mike Patton, Fiona Apple) and bassist Sylvia Black (Lydia Lunch.) The band arose from a previous incarnation called SAND, featuring Ryan and Young, which had released two albums in 2013 and 2014 respectively.

“By the time I started writing the third Sand record, it became clear the music was shifting from the Mahavishnu-esque mid 70’s-fusion to more part-oriented structures and the songs seemed to want vocals,” Ryan explains. Encouraged by engineer Andrew Murdock (Alice Cooper, Lou Barlow) while tracking new songs, the band embraced stylistic shifts and emerged anew with an EP, Other Memory in 2017. After touring that material a couple of times with bands like Cursive and Minus the Bear, Ether Feather further honed its sound to form the hook laden 8-track debut album, Devil – Shadowless – Hand.

“Ether Feather is definitely a band where we can try weirder stuff and stretch out creatively in ways that may not be appropriate in other musical situations,” Ryan says. “We can mix and blend aesthetics and make hard turns. Tim was in the Pacific Northwest during the first wave of grunge and brings something very different from me to the table, having come up in the late 90’s Chicago No Wave/Free Jazz/Metal scene.”

Album opener “Falconer” pits a chugging Helmet-eque guitar riff against Ghost-like harmonies and indie rock rhythms before busting open with a beautiful stadium rock guitar solo. Elsewhere, “Your Half In the Middle” floats along, led by the Byrds-esque vocal harmonies of Blue Oyster Cult’s “Don’t Fear The Reaper,” with similar juxtaposition of melody and ominous tones. “New Abyss” flexes the band’s jazz chops, but moreso in the manner of Richard Hell & The Voidoids or the Minutemen waxing prog-punk. Throughout, every song is full of surprising and enchanting musical twists that keep each song exciting and demanding repeat listens.

Devil – Shadowless – Hand will be available to stream and download on September 6th, 2019.

Artist: Ether Feather
Album: In Devil – Shadowless – Hand
Label: Ether Feather
Release date: September 6th, 2019

01. Falconer
02. Interstellar
03. Haggard Hawk
04. New Abyss
05. Cayenne
06. Dawn of Orion
07. Your Half In The Middle
08. The Ultimate Halcyon

Ether Feather is:
Tim Young, Guitar
Sylvia Black, Bass
Dylan Ryan, Drums & Vocals

facebook.com/etherfeatherband
instagram.com/etherfeatherband
https://etherfeather.bandcamp.com/

Ether Feather, “Interstellar”

Tags: , , , , ,